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  • 121 Graham, George

    SUBJECT AREA: Horology
    [br]
    b. c.1674 Cumberland, England
    d. 16 November 1751 London, England
    [br]
    English watch-and clockmaker who invented the cylinder escapement for watches, the first successful dead-beat escapement for clocks and the mercury compensation pendulum.
    [br]
    Graham's father died soon after his birth, so he was raised by his brother. In 1688 he was apprenticed to the London clockmaker Henry Aske, and in 1695 he gained his freedom. He was employed as a journeyman by Tompion in 1696 and later married his niece. In 1711 he formed a partnership with Tompion and effectively ran the business in Tompion's declining years; he took over the business after Tompion died in 1713. In addition to his horological interests he also made scientific instruments, specializing in those for astronomical use. As a person, he was well respected and appears to have lived up to the epithet "Honest George Graham". He befriended John Harrison when he first went to London and lent him money to further his researches at a time when they might have conflicted with his own interests.
    The two common forms of escapement in use in Graham's time, the anchor escapement for clocks and the verge escapement for watches, shared the same weakness: they interfered severely with the free oscillation of the pendulum and the balance, and thus adversely affected the timekeeping. Tompion's two frictional rest escapements, the dead-beat for clocks and the horizontal for watches, had provided a partial solution by eliminating recoil (the momentary reversal of the motion of the timepiece), but they had not been successful in practice. Around 1720 Graham produced his own much improved version of the dead-beat escapement which became a standard feature of regulator clocks, at least in Britain, until its supremacy was challenged at the end of the nineteenth century by the superior accuracy of the Riefler clock. Another feature of the regulator clock owed to Graham was the mercury compensation pendulum, which he invented in 1722 and published four years later. The bob of this pendulum contained mercury, the surface of which rose or fell with changes in temperature, compensating for the concomitant variation in the length of the pendulum rod. Graham devised his mercury pendulum after he had failed to achieve compensation by means of the difference in expansion between various metals. He then turned his attention to improving Tompion's horizontal escapement, and by 1725 the cylinder escapement existed in what was virtually its final form. From the following year he fitted this escapement to all his watches, and it was also used extensively by London makers for their precision watches. It proved to be somewhat lacking in durability, but this problem was overcome later in the century by using a ruby cylinder, notably by Abraham Louis Breguet. It was revived, in a cheaper form, by the Swiss and the French in the nineteenth century and was produced in vast quantities.
    [br]
    Principal Honours and Distinctions
    FRS 1720. Master of the Clockmakers' Company 1722.
    Bibliography
    Graham contributed many papers to the Philosophical Transactions of the Royal Society, in particular "A contrivance to avoid the irregularities in a clock's motion occasion'd by the action of heat and cold upon the rod of the pendulum" (1726) 34:40–4.
    Further Reading
    Britten's Watch \& Clock Maker's Handbook Dictionary and Guide, 1978, rev. Richard Good, 16th edn, London, pp. 81, 84, 232 (for a technical description of the dead-beat and cylinder escapements and the mercury compensation pendulum).
    A.J.Turner, 1972, "The introduction of the dead-beat escapement: a new document", Antiquarian Horology 8:71.
    E.A.Battison, 1972, biography, Biographical Dictionary of Science, ed. C.C.Gillespie, Vol. V, New York, 490–2 (contains a résumé of Graham's non-horological activities).
    DV

    Biographical history of technology > Graham, George

  • 122 Gutenberg, Johann Gensfleisch zum

    SUBJECT AREA: Paper and printing
    [br]
    b. c. 1394–9 Mainz, Germany
    d. 3 February 1468 Mainz, Germany
    [br]
    German inventor of printing with movable type.
    [br]
    Few biographical details are known of Johann Gensfleisch zum Gutenberg, yet it has been said that he was responsible for Germany's most notable contribution to civilization. He was a goldsmith by trade, of a patrician family of the city of Mainz. He seems to have begun experiments on printing while a political exile in Strasbourg c. 1440. He returned to Mainz between 1444 and 1448 and continued his experiments, until by 1450 he had perfected his invention sufficiently to justify raising capital for its commercial exploitation.
    Circumstances were propitious for the invention of printing at that time. Rises in literacy and prosperity had led to the formation of a social class with the time and resources to develop a taste for reading, and the demand for reading matter had outstripped the ability of the scribes to satisfy it. The various technologies required were well established, and finally the flourishing textile industry was producing enough waste material, rag, to make paper, the only satisfactory and cheap medium for printing. There were others working along similar lines, but it was Gutenberg who achieved the successful adaptation and combination of technologies to arrive at a process by which many identical copies of a text could be produced in a wide variety of forms, of which the book was the most important. Gutenberg did make several technical innovations, however. The two-piece adjustable mould for casting types of varying width, from T to "M", was ingenious. Then he had to devise an oil-based ink suitable for inking metal type, derived from the painting materials developed by contemporary Flemish artists. Finally, probably after many experiments, he arrived at a metal alloy of distinctive composition suitable for casting type.
    In 1450 Gutenberg borrowed 800 guldens from Johannes Fust, a lawyer of Mainz, and two years later Fust advanced a further 800 guldens, securing for himself a partnership in Gutenberg's business. But in 1455 Fust foreclosed and the bulk of Gutenberg's equipment passed to Peter Schöffer, who was in the service of Fust and later married his daughter. Like most early printers, Gutenberg seems not to have appreciated, or at any rate to have been able to provide for, the great dilemma of the publishing trade, namely the outlay of considerable capital in advance of each publication and the slowness of the return. Gutenberg probably retained only the type for the 42- and 36-line bibles and possibly the Catholicon of 1460, an encyclopedic work compiled in the thirteenth century and whose production pointed the way to printing's role as a means of spreading knowledge. The work concluded with a short descriptive piece, or colophon, which is probably by Gutenberg himself and is the only output of his mind that we have; it manages to omit the names of both author and printer.
    Gutenberg seems to have abandoned printing after 1460, perhaps due to failing eyesight as well as for financial reasons, and he suffered further loss in the sack of Mainz in 1462. He received a kind of pension from the Archbishop in 1465, and on his death was buried in the Franciscan church in Mainz. The only major work to have issued for certain from Gutenberg's workshop is the great 42-line bible, begun in 1452 and completed by August 1456. The quality of this Graaf piece of printing is a tribute to Gutenberg's ability as a printer, and the soundness of his invention is borne out by the survival of the process as he left it to the world, unchanged for over three hundred years save in minor details.
    [br]
    Further Reading
    A.Ruppel, 1967, Johannes Gutenberg: sein Leben und sein Werk, 3rd edn, Nieuwkoop: B.de Graaf (the standard biography), A.M.L.de Lamartine, 1960, Gutenberg, inventeur de l'imprimerie, Tallone.
    Scholderer, 1963, Gutenberg, Inventor of Printing, London: British Museum.
    S.H.Steinberg, 1974, Five Hundred Years of Printing 3rd edn, London: Penguin (provides briefer details).
    LRD

    Biographical history of technology > Gutenberg, Johann Gensfleisch zum

  • 123 Rennie, John

    SUBJECT AREA: Canals, Civil engineering
    [br]
    b. 7 June 1761 Phantassie, East Linton, East Lothian, Scotland
    d. 4 October 1821 Stamford Street, London, England
    [br]
    Scottish civil engineer.
    [br]
    Born into a prosperous farming family, he early demonstrated his natural mechanical and structural aptitude. As a boy he spent a great deal of time, often as a truant, near his home in the workshop of Andrew Meikle. Meikle was a millwright and the inventor of a threshing machine. After local education and an apprenticeship with Meikle, Rennie went to Edinburgh University until he was 22. He then travelled south and met James Watt, who in 1784 offered him the post of Engineer at the Albion Flour Mills, London, which was then under construction. Rennie designed all the mill machinery, and it was while there that he began to develop an interest in canals, opening his own business in 1791 in Blackfriars. He carried out work on the Kennet and Avon Canal and in 1794 became Engineer for the company. He meanwhile carried out other surveys, including a proposed extension of the River Stort Navigation to the Little Ouse and a Basingstoke-to-Salisbury canal, neither of which were built. From 1791 he was also engaged on the Rochdale Canal and the Lancaster Canal, as well as the great masonry aqueduct carrying the latter canal across the river Lune at Lancaster. He also surveyed the Ipswich and Stowmarket and the Chelmer and Blackwater Navigations. He advised on the Horncastle Canal in 1799 and on the River Ancholme in 1799, both of which are in Lincolnshire. In 1802 he was engaged on the Royal Canal in Ireland, and in the same year he was commissioned by the Government to prepare a plan for flooding the Lea Valley as a defence on the eastern approach to London in case Napoleon invaded England across the Essex marshes. In 1809 he surveyed improvements on the Thames, and in the following year he was involved in a proposed canal from Taunton to Bristol. Some of his schemes, particularly in the Fens and Lincolnshire, were a combination of improvements for both drainage and navigation. Apart from his canal work he engaged extensively in the construction and development of docks and harbours including the East and West India Docks in London, Holyhead, Hull, Ramsgate and the dockyards at Chatham and Sheerness. In 1806 he proposed the great breakwater at Plymouth, where work commenced on 22 June 1811.
    He was also highly regarded for his bridge construction. These included Kelso and Musselburgh, as well as his famous Thames bridges: London Bridge (uncompleted at the time of his death), Waterloo Bridge (1810–17) and Southwark Bridge (1815–19). He was elected a Fellow of the Royal Society in 1798.
    [br]
    Principal Honours and Distinctions
    FRS 1798.
    Further Reading
    C.T.G.Boucher, 1963, John Rennie 1761–1821, Manchester University Press. W.Reyburn, 1972, Bridge Across the Atlantic, London: Harrap.
    JHB

    Biographical history of technology > Rennie, John

  • 124 Tyer, Edward

    [br]
    b. 6 February 1830 Kennington, London, England
    d. 25 December 1912 Tunbridge Wells, England
    [br]
    English railway signal engineer, inventor of electric train-tablet system for the operation of single-line railways.
    [br]
    Use of the electric telegraph for the safe operation of railways was first proposed by W.F. Cooke in the late 1830s, but its application to this purpose and the concurrent replacement of the time-interval system of working, by the block system, comprised a matter of gradual evolution over several decades. In 1851 Tyer established a business making electrical apparatus for railways, and the block instruments invented by him in 1855 were an important step forward. A simple code of electric-bell rings (for up trains; for down trains, there was a distinctive gong) was used by one signalman to indicate to another in advance that a train was entering the section between them, and the latter signalman then operated a galvanometer telegraph instrument in the box of the former to indicate "train on line", holding it so until the train arrived.
    Even more important was the electric train-tablet apparatus. During the 1870s, single-line railways were operated either by telegraphed train orders, misuse of which led to two disastrous head-on collisions, or by "train staff and ticket", which lacked flexibility since no train could enter one end of a section while the train staff was at the other. At the request of Currer, an official of the Caledonian Railway, Tyer designed and produced his apparatus, in which a supply of discs, or "tablets", was contained in two instruments, one located at each end of a section, and linked electrically: only one tablet at a time could be extracted from the instruments, serving as an authority for a train to enter the section from one end or the other.
    [br]
    Bibliography
    1855, British patent no. 2,895 (block instruments). 1861, British patent no. 3,015 (block instruments). 1878, British patent for electric train-tablet apparatus.
    Further Reading
    C.Hamilton Ellis, 1959, British Railway History, Vol. II: 1877–1947, London: George Allen \& Unwin, p. 199 (describes the development of the tablet apparatus).
    P.J.G.Ransom, 1990, The Victorian Railway and How It Evolved, London: Heinemann, pp. 157–8 and 164 (describes the block instruments and tablet apparatus).
    PJGR

    Biographical history of technology > Tyer, Edward

  • 125 Philosophy

       And what I believe to be more important here is that I find in myself an infinity of ideas of certain things which cannot be assumed to be pure nothingness, even though they may have perhaps no existence outside of my thought. These things are not figments of my imagination, even though it is within my power to think of them or not to think of them; on the contrary, they have their own true and immutable natures. Thus, for example, when I imagine a triangle, even though there may perhaps be no such figure anywhere in the world outside of my thought, nor ever have been, nevertheless the figure cannot help having a certain determinate nature... or essence, which is immutable and eternal, which I have not invented and which does not in any way depend upon my mind. (Descartes, 1951, p. 61)
       Let us console ourselves for not knowing the possible connections between a spider and the rings of Saturn, and continue to examine what is within our reach. (Voltaire, 1961, p. 144)
       As modern physics started with the Newtonian revolution, so modern philosophy starts with what one might call the Cartesian Catastrophe. The catastrophe consisted in the splitting up of the world into the realms of matter and mind, and the identification of "mind" with conscious thinking. The result of this identification was the shallow rationalism of l'esprit Cartesien, and an impoverishment of psychology which it took three centuries to remedy even in part. (Koestler, 1964, p. 148)
       It has been made of late a reproach against natural philosophy that it has struck out on a path of its own, and has separated itself more and more widely from the other sciences which are united by common philological and historical studies. The opposition has, in fact, been long apparent, and seems to me to have grown up mainly under the influence of the Hegelian philosophy, or, at any rate, to have been brought out into more distinct relief by that philosophy.... The sole object of Kant's "Critical Philosophy" was to test the sources and the authority of our knowledge, and to fix a definite scope and standard for the researches of philosophy, as compared with other sciences.... [But Hegel's] "Philosophy of Identity" was bolder. It started with the hypothesis that not only spiritual phenomena, but even the actual world-nature, that is, and man-were the result of an act of thought on the part of a creative mind, similar, it was supposed, in kind to the human mind.... The philosophers accused the scientific men of narrowness; the scientific men retorted that the philosophers were crazy. And so it came about that men of science began to lay some stress on the banishment of all philosophic influences from their work; while some of them, including men of the greatest acuteness, went so far as to condemn philosophy altogether, not merely as useless, but as mischievous dreaming. Thus, it must be confessed, not only were the illegitimate pretensions of the Hegelian system to subordinate to itself all other studies rejected, but no regard was paid to the rightful claims of philosophy, that is, the criticism of the sources of cognition, and the definition of the functions of the intellect. (Helmholz, quoted in Dampier, 1966, pp. 291-292)
       Philosophy remains true to its classical tradition by renouncing it. (Habermas, 1972, p. 317)
       I have not attempted... to put forward any grand view of the nature of philosophy; nor do I have any such grand view to put forth if I would. It will be obvious that I do not agree with those who see philosophy as the history of "howlers" and progress in philosophy as the debunking of howlers. It will also be obvious that I do not agree with those who see philosophy as the enterprise of putting forward a priori truths about the world.... I see philosophy as a field which has certain central questions, for example, the relation between thought and reality.... It seems obvious that in dealing with these questions philosophers have formulated rival research programs, that they have put forward general hypotheses, and that philosophers within each major research program have modified their hypotheses by trial and error, even if they sometimes refuse to admit that that is what they are doing. To that extent philosophy is a "science." To argue about whether philosophy is a science in any more serious sense seems to me to be hardly a useful occupation.... It does not seem to me important to decide whether science is philosophy or philosophy is science as long as one has a conception of both that makes both essential to a responsible view of the world and of man's place in it. (Putnam, 1975, p. xvii)
       What can philosophy contribute to solving the problem of the relation [of] mind to body? Twenty years ago, many English-speaking philosophers would have answered: "Nothing beyond an analysis of the various mental concepts." If we seek knowledge of things, they thought, it is to science that we must turn. Philosophy can only cast light upon our concepts of those things.
       This retreat from things to concepts was not undertaken lightly. Ever since the seventeenth century, the great intellectual fact of our culture has been the incredible expansion of knowledge both in the natural and in the rational sciences (mathematics, logic).
       The success of science created a crisis in philosophy. What was there for philosophy to do? Hume had already perceived the problem in some degree, and so surely did Kant, but it was not until the twentieth century, with the Vienna Circle and with Wittgenstein, that the difficulty began to weigh heavily. Wittgenstein took the view that philosophy could do no more than strive to undo the intellectual knots it itself had tied, so achieving intellectual release, and even a certain illumination, but no knowledge. A little later, and more optimistically, Ryle saw a positive, if reduced role, for philosophy in mapping the "logical geography" of our concepts: how they stood to each other and how they were to be analyzed....
       Since that time, however, philosophers in the "analytic" tradition have swung back from Wittgensteinian and even Rylean pessimism to a more traditional conception of the proper role and tasks of philosophy. Many analytic philosophers now would accept the view that the central task of philosophy is to give an account, or at least play a part in giving an account, of the most general nature of things and of man. (Armstrong, 1990, pp. 37-38)
       8) Philosophy's Evolving Engagement with Artificial Intelligence and Cognitive Science
       In the beginning, the nature of philosophy's engagement with artificial intelligence and cognitive science was clear enough. The new sciences of the mind were to provide the long-awaited vindication of the most potent dreams of naturalism and materialism. Mind would at last be located firmly within the natural order. We would see in detail how the most perplexing features of the mental realm could be supported by the operations of solely physical laws upon solely physical stuff. Mental causation (the power of, e.g., a belief to cause an action) would emerge as just another species of physical causation. Reasoning would be understood as a kind of automated theorem proving. And the key to both was to be the depiction of the brain as the implementation of multiple higher level programs whose task was to manipulate and transform symbols or representations: inner items with one foot in the physical (they were realized as brain states) and one in the mental (they were bearers of contents, and their physical gymnastics were cleverly designed to respect semantic relationships such as truth preservation). (A. Clark, 1996, p. 1)
       Socrates of Athens famously declared that "the unexamined life is not worth living," and his motto aptly explains the impulse to philosophize. Taking nothing for granted, philosophy probes and questions the fundamental presuppositions of every area of human inquiry.... [P]art of the job of the philosopher is to keep at a certain critical distance from current doctrines, whether in the sciences or the arts, and to examine instead how the various elements in our world-view clash, or fit together. Some philosophers have tried to incorporate the results of these inquiries into a grand synoptic view of the nature of reality and our human relationship to it. Others have mistrusted system-building, and seen their primary role as one of clarifications, or the removal of obstacles along the road to truth. But all have shared the Socratic vision of using the human intellect to challenge comfortable preconceptions, insisting that every aspect of human theory and practice be subjected to continuing critical scrutiny....
       Philosophy is, of course, part of a continuing tradition, and there is much to be gained from seeing how that tradition originated and developed. But the principal object of studying the materials in this book is not to pay homage to past genius, but to enrich one's understanding of central problems that are as pressing today as they have always been-problems about knowledge, truth and reality, the nature of the mind, the basis of right action, and the best way to live. These questions help to mark out the territory of philosophy as an academic discipline, but in a wider sense they define the human predicament itself; they will surely continue to be with us for as long as humanity endures. (Cottingham, 1996, pp. xxi-xxii)
       In his study of ancient Greek culture, The Birth of Tragedy, Nietzsche drew what would become a famous distinction, between the Dionysian spirit, the untamed spirit of art and creativity, and the Apollonian, that of reason and self-control. The story of Greek civilization, and all civilizations, Nietzsche implied, was the gradual victory of Apollonian man, with his desire for control over nature and himself, over Dionysian man, who survives only in myth, poetry, music, and drama. Socrates and Plato had attacked the illusions of art as unreal, and had overturned the delicate cultural balance by valuing only man's critical, rational, and controlling consciousness while denigrating his vital life instincts as irrational and base. The result of this division is "Alexandrian man," the civilized and accomplished Greek citizen of the later ancient world, who is "equipped with the greatest forces of knowledge" but in whom the wellsprings of creativity have dried up. (Herman, 1997, pp. 95-96)

    Historical dictionary of quotations in cognitive science > Philosophy

  • 126 Thinking

       But what then am I? A thing which thinks. What is a thing which thinks? It is a thing which doubts, understands, [conceives], affirms, denies, wills, refuses, which also imagines and feels. (Descartes, 1951, p. 153)
       I have been trying in all this to remove the temptation to think that there "must be" a mental process of thinking, hoping, wishing, believing, etc., independent of the process of expressing a thought, a hope, a wish, etc.... If we scrutinize the usages which we make of "thinking," "meaning," "wishing," etc., going through this process rids us of the temptation to look for a peculiar act of thinking, independent of the act of expressing our thoughts, and stowed away in some particular medium. (Wittgenstein, 1958, pp. 41-43)
       Analyse the proofs employed by the subject. If they do not go beyond observation of empirical correspondences, they can be fully explained in terms of concrete operations, and nothing would warrant our assuming that more complex thought mechanisms are operating. If, on the other hand, the subject interprets a given correspondence as the result of any one of several possible combinations, and this leads him to verify his hypotheses by observing their consequences, we know that propositional operations are involved. (Inhelder & Piaget, 1958, p. 279)
       In every age, philosophical thinking exploits some dominant concepts and makes its greatest headway in solving problems conceived in terms of them. The seventeenth- and eighteenth-century philosophers construed knowledge, knower, and known in terms of sense data and their association. Descartes' self-examination gave classical psychology the mind and its contents as a starting point. Locke set up sensory immediacy as the new criterion of the real... Hobbes provided the genetic method of building up complex ideas from simple ones... and, in another quarter, still true to the Hobbesian method, Pavlov built intellect out of conditioned reflexes and Loeb built life out of tropisms. (S. Langer, 1962, p. 54)
       Experiments on deductive reasoning show that subjects are influenced sufficiently by their experience for their reasoning to differ from that described by a purely deductive system, whilst experiments on inductive reasoning lead to the view that an understanding of the strategies used by adult subjects in attaining concepts involves reference to higher-order concepts of a logical and deductive nature. (Bolton, 1972, p. 154)
       There are now machines in the world that think, that learn and create. Moreover, their ability to do these things is going to increase rapidly until-in the visible future-the range of problems they can handle will be coextensive with the range to which the human mind has been applied. (Newell & Simon, quoted in Weizenbaum, 1976, p. 138)
       But how does it happen that thinking is sometimes accompanied by action and sometimes not, sometimes by motion, and sometimes not? It looks as if almost the same thing happens as in the case of reasoning and making inferences about unchanging objects. But in that case the end is a speculative proposition... whereas here the conclusion which results from the two premises is an action.... I need covering; a cloak is a covering. I need a cloak. What I need, I have to make; I need a cloak. I have to make a cloak. And the conclusion, the "I have to make a cloak," is an action. (Nussbaum, 1978, p. 40)
       It is well to remember that when philosophy emerged in Greece in the sixth century, B.C., it did not burst suddenly out of the Mediterranean blue. The development of societies of reasoning creatures-what we call civilization-had been a process to be measured not in thousands but in millions of years. Human beings became civilized as they became reasonable, and for an animal to begin to reason and to learn how to improve its reasoning is a long, slow process. So thinking had been going on for ages before Greece-slowly improving itself, uncovering the pitfalls to be avoided by forethought, endeavoring to weigh alternative sets of consequences intellectually. What happened in the sixth century, B.C., is that thinking turned round on itself; people began to think about thinking, and the momentous event, the culmination of the long process to that point, was in fact the birth of philosophy. (Lipman, Sharp & Oscanyan, 1980, p. xi)
       The way to look at thought is not to assume that there is a parallel thread of correlated affects or internal experiences that go with it in some regular way. It's not of course that people don't have internal experiences, of course they do; but that when you ask what is the state of mind of someone, say while he or she is performing a ritual, it's hard to believe that such experiences are the same for all people involved.... The thinking, and indeed the feeling in an odd sort of way, is really going on in public. They are really saying what they're saying, doing what they're doing, meaning what they're meaning. Thought is, in great part anyway, a public activity. (Geertz, quoted in J. Miller, 1983, pp. 202-203)
       Everything should be made as simple as possible, but not simpler. (Einstein, quoted in Minsky, 1986, p. 17)
       What, in effect, are the conditions for the construction of formal thought? The child must not only apply operations to objects-in other words, mentally execute possible actions on them-he must also "reflect" those operations in the absence of the objects which are replaced by pure propositions. Thus, "reflection" is thought raised to the second power. Concrete thinking is the representation of a possible action, and formal thinking is the representation of a representation of possible action.... It is not surprising, therefore, that the system of concrete operations must be completed during the last years of childhood before it can be "reflected" by formal operations. In terms of their function, formal operations do not differ from concrete operations except that they are applied to hypotheses or propositions [whose logic is] an abstract translation of the system of "inference" that governs concrete operations. (Piaget, quoted in Minsky, 1986, p. 237)
       [E]ven a human being today (hence, a fortiori, a remote ancestor of contemporary human beings) cannot easily or ordinarily maintain uninterrupted attention on a single problem for more than a few tens of seconds. Yet we work on problems that require vastly more time. The way we do that (as we can observe by watching ourselves) requires periods of mulling to be followed by periods of recapitulation, describing to ourselves what seems to have gone on during the mulling, leading to whatever intermediate results we have reached. This has an obvious function: namely, by rehearsing these interim results... we commit them to memory, for the immediate contents of the stream of consciousness are very quickly lost unless rehearsed.... Given language, we can describe to ourselves what seemed to occur during the mulling that led to a judgment, produce a rehearsable version of the reaching-a-judgment process, and commit that to long-term memory by in fact rehearsing it. (Margolis, 1987, p. 60)

    Historical dictionary of quotations in cognitive science > Thinking

  • 127 till

    I til preposition, conjunction
    (to the time of or when: I'll wait till six o'clock; Go on till you reach the station.) hasta (que)

    II til noun
    ((in a shop etc) a container or drawer in which money is put and registered.) caja
    till1 adv hasta
    till2 n caja registradora
    please pay at the till pasa por caja, por favor
    tr[tɪl]
    1 hasta
    ■ why don't you wait till tomorrow ¿por qué no te esperas hasta mañana?
    1 hasta que
    1 (for cash) caja
    1 (cultivate) labrar, cultivar
    till ['tɪl] vt
    : cultivar, labrar
    till n
    : caja f, caja f registradora
    till prep & conj until
    conj.
    • hasta conj.
    conj.
    • hasta que conj.
    n.
    • caja de dinero s.f.
    • cajón s.m.
    • gaveta s.f.
    prep.
    • hasta prep.
    v.
    • cultivar v.
    • laborear v.
    • labrar v.
    • trabajar v.

    I tɪl
    conjunction/preposition until I,II

    II
    noun ( cash register) caja f (registradora); ( drawer) caja f

    to have one's fingers/hand in the till — (colloq) estar* robando dinero de la caja


    III
    transitive verb cultivar, labrar

    I
    [tɪl]
    VT (Agr) [+ land, soil] cultivar, labrar
    II
    [tɪl]
    PREP CONJ = until
    III [tɪl]
    1.
    N (for money) (=drawer) cajón m ; (=machine) caja f, caja f registradora

    they caught him with his hand or fingers in the till — lo cogieron robando (dentro de la empresa etc)

    2.
    CPD

    till receipt N — tíquet m de compra

    * * *

    I [tɪl]
    conjunction/preposition until I,II

    II
    noun ( cash register) caja f (registradora); ( drawer) caja f

    to have one's fingers/hand in the till — (colloq) estar* robando dinero de la caja


    III
    transitive verb cultivar, labrar

    English-spanish dictionary > till

  • 128 show

    1. noun
    1) (display) Pracht, die

    a show of flowers/colour — eine Blumen-/Farbenpracht

    show of force/strength — etc. Demonstration der Macht/Stärke usw.

    2) (exhibition) Ausstellung, die; Schau, die

    dog show — Hundeschau, die

    3) (entertainment, performance) Show, die; (Theatre) Vorstellung, die; (Radio, Telev.) [Unterhaltungs]sendung, die; see also academic.ru/70491/steal">steal 1. 1)
    4) (coll.): (effort)

    put up a good/poor show — eine gute/schlechte Figur machen

    good show! — gut [gemacht]!

    5) (coll.): (undertaking, business)

    it's his show — er ist der Boss (ugs.)

    give the [whole] show away — alles ausquatschen (salopp)

    6) (outward appearance) Anschein, der

    make or put on a [great] show of doing something — sich (Dat.) [angestrengt] den Anschein geben, etwas zu tun

    do something just for show — etwas nur aus Prestigegründen tun

    2. transitive verb,
    p.p. shown or showed
    1) (allow or cause to be seen) zeigen; vorzeigen [Pass, Fahrschein usw.]

    show somebody something, show something to somebody — jemandem etwas zeigen

    have nothing/something to show for it — [dabei] nichts/etwas zum Vorzeigen haben

    this material does not show the dirt — auf diesem Material sieht man den Schmutz nicht; see also colour 1. 5); sign 1. 5)

    2) (manifest, give evidence of) zeigen; beweisen [Mut, Entschlossenheit, Urteilsvermögen usw.]

    he is showing his age — man sieht ihm sein Alter an

    3)

    show [somebody] kindness/mercy — freundlich [zu jemandem] sein/Erbarmen [mit jemandem] haben

    show mercy on or to somebody — Erbarmen mit jemandem haben

    4) (indicate) zeigen [Gefühl, Freude usw.]; [Thermometer, Uhr usw.:] anzeigen

    as shown in the illustration — wie die Abbildung zeigt

    the firm shows a profit/loss — die Firma macht Gewinn/Verlust

    5) (demonstrate, prove) zeigen

    show somebody that... — jemandem beweisen, dass...

    it all/just goes to show that... — das beweist nur, dass...

    it all goes to show, doesn't it? — das beweist es doch, oder?

    I'll show you/him etc.! — ich werd's dir/ihm usw. schon zeigen!

    show somebody who's boss — jemandem zeigen, wer das Sagen hat

    6) (conduct) führen

    show somebody over or round the house/to his place — jemanden durchs Haus/an seinen Platz führen

    3. intransitive verb,
    p.p. shown or showed
    1) (be visible) sichtbar od. zu sehen sein

    he was angry/bored, and it showed — er war wütend/langweilte sich, und man sah es [ihm an]

    2) (be shown) [Film:] laufen; [Künstler:] ausstellen

    "Gandhi" - now showing in the West End — "Gandhi" - Jetzt im West End

    3) (make something known)

    time will show — man wird es [ja] sehen

    Phrasal Verbs:
    * * *
    [ʃəu] 1. past tense - showed; verb
    1) (to allow or cause to be seen: Show me your new dress; Please show your membership card when you come to the club; His work is showing signs of improvement.) zeigen
    2) (to be able to be seen: The tear in your dress hardly shows; a faint light showing through the curtains.) sich sehen lassen
    3) (to offer or display, or to be offered or displayed, for the public to look at: Which picture is showing at the cinema?; They are showing a new film; His paintings are being shown at the art gallery.) zeigen
    4) (to point out or point to: He showed me the road to take; Show me the man you saw yesterday.) zeigen
    5) ((often with (a)round) to guide or conduct: Please show this lady to the door; They showed him (a)round (the factory).) zeigen
    6) (to demonstrate to: Will you show me how to do it?; He showed me a clever trick.) zeigen
    7) (to prove: That just shows / goes to show how stupid he is.) zeigen
    8) (to give or offer (someone) kindness etc: He showed him no mercy.) erweisen
    2. noun
    1) (an entertainment, public exhibition, performance etc: a horse-show; a flower show; the new show at the theatre; a TV show.) die Schau
    2) (a display or act of showing: a show of strength.) zur Schau stellen
    3) (an act of pretending to be, do etc (something): He made a show of working, but he wasn't really concentrating.) der Schein
    4) (appearance, impression: They just did it for show, in order to make themselves seem more important than they are.) die Schau
    5) (an effort or attempt: He put up a good show in the chess competition.) der Eindruck
    •
    - showy
    - showiness
    - show-business
    - showcase
    - showdown
    - showground
    - show-jumping
    - showman
    - showroom
    - give the show away
    - good show! - on show
    - show off
    - show up
    * * *
    [ʃəʊ, AM ʃoʊ]
    I. NOUN
    1. (showing) Bekundung f geh, Demonstration f geh
    those members who had made the most open \shows of defiance surprisingly abstained diejenigen Mitglieder, die ihre Ablehnung am deutlichsten bekundet hatten, enthielten sich überraschenderweise der Stimme
    his refusal was a childish \show of defiance seine Weigerung war eine kindische Trotzreaktion
    \show of force Machtdemonstration f geh
    \show of kindness Geste f der Freundlichkeit
    \show of solidarity Solidaritätsbekundung f geh
    \show of strength/unity Demonstration f der Stärke/Einigkeit geh
    the troops paraded in a \show of strength through the capital die Truppen marschierten durch die Hauptstadt, um ihre Stärke zu demonstrieren
    despite their public \show of unity they are close to getting divorced obwohl sie nach außen hin Einigkeit demonstrieren, stehen sie kurz vor der Scheidung
    2. no pl (display, impression) Schau f
    just [or only] for \show nur der Schau wegen
    are those lights just for \show? sollen die Lichter nur Eindruck machen?
    to make a \show of sth etw zur Schau stellen
    he really made a \show of accepting the award ( fam) er hat bei der Entgegennahme des Preises die große Show [o eine Show] abgezogen fam
    3. no pl (impressive sight) Pracht f, Schauspiel nt geh
    a \show of colour/flowers eine Farben-/Blumenpracht
    4. (exhibition, event) Schau f, Ausstellung f
    dog/fashion \show Hunde-/Modenschau f
    retrospective \show Retrospektive f
    slide \show Diavorführung f, Diavortrag m
    ▪ to be on \show ausgestellt sein
    5. (entertainment) Show f; (on TV also) Unterhaltungssendung f; (at a theatre) Vorstellung f, Vorführung f
    puppet \show Puppenspiel nt, Marionettentheater nt
    quiz \show Quizsendung f, Quizshow f
    radio/stage \show Radio-/Bühnenshow f
    talent \show Talentwettbewerb m
    to stage a \show eine Show auf die Bühne bringen
    6. no pl ( fam: activity, affair) Sache f; (undertaking) Laden m fig fam; (situation) Situation f
    who will run the \show when she retires? wer wird den Laden schmeißen, wenn sie in Pension geht? fam
    she prefers to be in charge of her own \show sie zieht es vor, unabhängig schalten und walten zu können
    how did she run the \show when the company threatened legal action? wie hat sie die Angelegenheit geregelt, als die Firma mit rechtlichen Schritten drohte?
    I didn't like how he ran the \show during the strike mir hat es nicht gefallen, wie er mit der Situation während des Streiks umgegangen ist
    it's her [own] \show sie ist hier der Boss [o hat hier das Sagen] fam
    who is running the \show?, whose \show is it? wer ist hier der Boss [o hat hier das Sagen]? fam
    the wedding is their \show, let them do it their way es ist ihre Sache [zu entscheiden], wie ihre Hochzeit ablaufen soll
    ▪ the \show die Baseballoberliga
    8.
    ▶ bad [or poor] /good \show! ( dated fam) schwache Leistung!/gut [gemacht]!
    ▶ let's get the [or this] \show on the road ( fam) lasst uns die Sache [endlich] in Angriff nehmen
    ▶ the \show must go on ( saying) die Show muss weitergehen
    ▶ \show of hands [Abstimmung f per] Handzeichen nt
    let me see a \show of hands bitte mal die Hand hochheben
    let's have a \show of hands lass uns per Hand abstimmen
    by [or on] a \show of hands durch Handzeichen
    ▶ to make [or put on] a \show eine Schau abziehen fam
    ▶ to make [or put on] a \show of doing sth vortäuschen, etw zu tun
    they put on a \show of being interested sie taten so als seien sie interessiert, sie täuschten Interesse vor
    ▶ to put on [or up] a good \show sich akk bemühen, Einsatz zeigen
    <showed, shown or showed>
    1. (display, project)
    ▪ to \show [sb] sth [jdm] etw zeigen; (exhibit)
    ▪ to \show sth etw ausstellen; (perform)
    ▪ to \show sth etw vorführen; (produce)
    ▪ to \show sth etw vorzeigen
    don't ever \show yourself here again! lass dich hier ja nie wieder blicken!
    the photos \show them kissing and cuddling die Fotos zeigen sie küssend und in liebevoller Umarmung
    to \show sb one's ability jdm seine Fähigkeiten vorführen
    to \show a film einen Film zeigen [o fam bringen]
    this film has never been \shown on television dieser Film kam noch nie im Fernsehen
    to \show a flag eine Flagge hissen
    to \show one's passport at the border seinen Pass an der Grenze vorzeigen
    to \show sb one's ticket jdm seine Fahrkarte [vor]zeigen
    to \show slides Dias vorführen [o zeigen]
    to \show the time die Uhrzeit anzeigen
    to \show one's work ART [seine Arbeiten] ausstellen
    his paintings will be \shown in the National Gallery until May seine Bilder sind bis Mai in der Nationalgalerie zu sehen
    2. (expose)
    ▪ to \show sth etw sehen lassen
    your blouse is \showing your bra durch deine Bluse kann man deinen BH sehen
    this carpet \shows all the dirt bei dem Teppich kann man jedes bisschen Schmutz sehen
    3. (reveal)
    ▪ to \show sth etw zeigen [o erkennen lassen]
    he started to \show his age man begann, ihm sein Alter anzusehen
    he \showed no signs of improvement er zeigte keinerlei Besserung
    to \show courage/initiative/common sense Mut/Unternehmungsgeist/gesunden Menschenverstand beweisen
    to \show genius/originality Genie/Originalität beweisen
    to \show promise viel versprechend sein
    4. (express)
    ▪ to \show sth etw zeigen
    to \show a bias/enthusiasm for sth eine Vorliebe/Begeisterung für etw akk zeigen
    to \show clemency Milde walten lassen
    to \show compassion [for sb] [mit jdm] Mitleid haben
    to \show compunction Gewissensbisse haben
    to \show [sb] one's gratitude sich akk [jdm gegenüber] dankbar erweisen [o zeigen]
    to \show sb respect jdm Respekt erweisen
    you have to \show more respect du solltest mehr Respekt zeigen
    5. (point out, indicate)
    ▪ to \show sth [to sb] [jdm] etw zeigen; (represent)
    ▪ to \show sth etw darstellen
    the map \shows where her house is auf der Karte ist ihr Haus zu sehen
    this map \shows urban areas in grey auf dieser Karte sind die Stadtgebiete grau dargestellt
    it's \showing signs of rain es sieht nach Regen aus
    6. (explain)
    ▪ to \show sb sth jdm etw zeigen [o erklären]
    to \show sb the way jdm den Weg zeigen
    7. (record)
    ▪ to \show sth etw anzeigen; statistics etw [auf]zeigen
    to \show a loss/profit einen Verlust/Gewinn aufweisen
    ▪ to \show sth etw beweisen
    to \show cause LAW seine Gründe vorbringen
    order to \show cause gerichtliche Verfügung
    to \show one's mettle zeigen, was in einem steckt
    ▪ to \show sb that... jdm zeigen [o beweisen], dass...
    ▪ to \show [sb] how/why... [jdm] zeigen, wie/warum...
    ▪ to \show oneself [to be] sth sich akk als etw erweisen
    9. (escort)
    ▪ to \show sb into/out of/to sth jdn in etw akk /aus/zu etw dat führen [o bringen]
    ▪ to \show sb over [or AM usu around] a place jdm einen Ort zeigen
    they \showed us over the estate sie führten uns auf dem Anwesen herum
    10.
    ▶ to \show one's cards [or hand] seine Karten aufdecken fig
    ▶ to \show sb the door jdm die Tür weisen
    ▶ to dare [to] \show one's face es wagen, aufzukreuzen fam
    he won't dare to \show his face here again er wird es nie wieder wagen, hier aufzukreuzen fam
    ▶ to have nothing to \show for it [or for one's efforts] [am Ende] nichts vorzuweisen haben
    five years in the job, and what have you got to \show for it? du machst diesen Job nun schon seit fünf Jahren, und was hast du nun von all der Mühe?
    ▶ to \show [sb] no quarter ( liter) [mit jdm] kein Erbarmen haben
    ▶ to \show one's teeth die Zähne zeigen fig fam
    ▶ to \show one's true colours Farbe bekennen
    ▶ to \show the way [forward] den Weg weisen fig
    ▶ that will \show you/her ( fam) das wird dir/ihr eine Lehre sein
    <showed, shown or showed>
    1. (be visible) zu sehen sein
    the trees \show blue on these photographs die Bäume erscheinen auf diesen Fotos blau
    she's four months pregnant and starting to \show sie ist im vierten Monat schwanger und allmählich sieht man es auch
    to let sth \show sich dat etw anmerken lassen
    2. esp AM, AUS ( fam: arrive) auftauchen, aufkreuzen fam
    3. (be shown) film gezeigt werden, laufen fam
    now \showing at a cinema near you! jetzt im Kino!
    4. (exhibit) ausstellen
    5. AM (come third in horse racing) Dritte(r) f(m) werden
    * * *
    [ʃəʊ] vb: pret showed, ptp shown
    1. n
    1)

    (= display) a fine show of roses — eine Rosenpracht

    show of hands — Handzeichen nt, Hand(er)heben nt

    2) (= outward appearance) Schau f; (= trace) Spur f; (of hatred, affection) Kundgebung f

    to make a great show of being impressed/overworked/pleased — sich (dat) ganz den Anschein geben, beeindruckt/überarbeitet/erfreut zu sein

    without any show of emotion —

    3) (= exhibition) Ausstellung f

    dog/fashion show — Hunde-/Modenschau f

    4) (THEAT) Aufführung f; (TV, VARIETY OR POP SHOW) Show f; (RAD) Sendung f; (FILM) Vorstellung f

    to go to a show ( esp Brit : in theatre ) — ins Theater gehen; ( US : in movie theater ) ins Kino gehen

    See:
    → steal
    5) (esp Brit inf)

    (jolly) good show! (dated) bad show! (dated) (= what a pity) — ausgezeichnet!, bravo! schwaches Bild (inf) so ein Pech!

    to put up a good/poor show —

    it's a pretty poor show when... — das ist vielleicht traurig or ein schwaches Bild (inf), wenn...

    6) (inf: undertaking, organization) Laden m (inf)

    to give the ( whole) show away — alles verraten

    2. vt
    1) (= display) zeigen; (COMPUT) anzeigen; (at exhibition) ausstellen, zeigen; (= demonstrate) dog vorführen; slides, film zeigen, vorführen; passport, ticket vorzeigen

    to show sb sth, to show sth to sb — jdm etw zeigen

    show me how to do it — zeigen Sie mir, wie man das macht

    he had nothing to show for it — er hatte am Ende nichts vorzuweisen

    See:
    → hand, heel
    2) (= register) (an)zeigen; loss, profit haben, verzeichnen; rise in numbers aufzeigen; (thermometer, speedometer) stehen auf (+dat); (calendar) zeigen

    it shows that... — es zeigt, dass...

    the dial will show red if... — der Zeiger zeigt auf Rot, wenn...

    3) (= indicate) zeigen; (= prove) beweisen; kindness, favour erweisen; courage zeigen, beweisen; loyalty, taste, tact, intelligence beweisen; respect bezeigen; proof erbringen

    this shows him to be a thief —

    I hope I have shown how silly it is — ich habe hoffentlich (auf)gezeigt, wie dumm das ist

    it all or just goes to show that... — das zeigt doch nur, dass...

    4) (= reveal) zeigen

    it showed signs of having been used — man sah, dass es gebraucht worden war

    show a leg! ( Brit inf ) — raus aus den Federn! (inf)

    5) (= direct) zeigen

    to show sb in/out — jdn hereinbringen/hinausbringen or -begleiten

    to show sb out of a room — jdn hinausbegleiten, jdn aus dem Zimmer begleiten

    to show sb into a room — jdn hereinbringen, jdn ins Zimmer bringen

    to show sb to his seat/to the door — jdn an seinen Platz/an die or zur Tür bringen

    they were shown over or (a)round the factory — ihnen wurde die Fabrik gezeigt, sie wurden in der Fabrik herumgeführt

    3. vi
    1) (= be visible) zu sehen sein, sichtbar sein; (petticoat etc) vorsehen, rausgucken (inf); (film) gezeigt werden, laufen; (= exhibit artist) ausstellen

    the pregnancy or she is now beginning to show — man sieht or merkt jetzt allmählich, dass sie schwanger ist

    to show through —

    2)

    (= prove) it just goes to show! — da sieht mans mal wieder!

    4. vr

    he showed himself to be a coward —

    * * *
    show [ʃəʊ]
    A s
    1. (Her)Zeigen n:
    vote by show of hands durch Handzeichen wählen;
    show of teeth Zähnefletschen n
    2. Show f, Schau f, Zurschaustellung f:
    a show of force fig eine Demonstration der Macht
    3. (künstlerische etc) Darbietung, Vorführung f, Vorstellung f, Show f, Schau f:
    put on a show fig eine Schau abziehen, sich aufspielen;
    steal the show fig (jemandem) die Schau stehlen
    4. umg (Theater-, Film)Vorstellung f
    5. Show f, Schau f, Ausstellung f:
    on show ausgestellt, zu besichtigen(d)
    6. (Radio-, Fernseh)Sendung f
    7. (prunkvoller) Umzug
    8. fig Schauspiel n, Anblick m:
    make a sorry show einen traurigen Eindruck hinterlassen;
    make a good show eine gute Figur machen umg
    9. umg gute etc Leistung:
    good show! gut gemacht!, bravo!
    10. Protzerei f, Angeberei f (beide umg):
    for show um Eindruck zu machen, (nur) fürs Auge;
    be fond of show gern großtun
    11. (leerer) Schein:
    in outward show nach außen (hin);
    make a show of interest Interesse heucheln, sich interessiert geben;
    make a show of rage sich wütend stellen
    12. Spur f, Anzeichen n
    13. (Zirkus-, Theater) Truppe f
    14. umg Chance f:
    15. besonders Br umg Laden m, Sache f:
    a dull (poor) show eine langweilige (armselige) Sache;
    run the show den Laden oder die Sache schmeißen;
    give the (whole) show away sich oder alles verraten
    16. Pferderennen etc: dritter Platz
    B v/t prät showed, pperf shown, showed
    1. zeigen, sehen lassen, seinen Ausweis, seine Fahrkarte etc auch vorzeigen, -weisen:
    show o.s.
    a) auch show one’s face sich zeigen, sich sehen oder blicken lassen
    b) fig sich grausam etc zeigen, sich erweisen als;
    I’ll show him! der soll mich kennenlernen!;
    never show your face again! lass dich hier nie wieder blicken!;
    “not shown” (in Katalogen etc) „ohne Abbildung“; → card1 1 a, etc
    2. jemandem zeigen oder erklären ( how to do sth wie man etwas tut):
    show sb how to write jemandem das Schreiben beibringen
    3. sein Wissen etc an den Tag legen, zeigen
    4. Katzen etc ausstellen, auf einer Ausstellung zeigen
    5. zeigen:
    a) THEAT etc vorführen
    b) TV bringen
    6. jemanden ins Zimmer etc führen, geleiten, bringen:
    show sb about ( oder [a]round) the town jemandem die Stadt zeigen, jemanden in der Stadt herumführen;
    show sb over the house jemanden durch das Haus führen;
    show sb (a)round jemanden (herum)führen
    7. seine Absichten etc kundtun, offenbaren
    8. seine Pläne etc (auf)zeigen, darlegen
    9. zeigen, beweisen:
    you’ll have to show me! umg das wirst du mir (erst) beweisen müssen!
    10. JUR nachweisen, vorbringen:
    show proof JUR den Beweis erbringen; → cause A 4
    11. PHYS, TECH (an)zeigen:
    12. Gefühle zeigen, sich etwas anmerken lassen
    13. schlechten Geschmack etc zeigen, erkennen lassen, verraten
    14. jemandem eine Gunst etc erweisen:
    show sb gratitude sich jemandem gegenüber dankbar erweisen
    C v/i
    1. sichtbar werden oder sein, sich zeigen:
    the blood shows through her skin man sieht das Blut durch ihre Haut;
    it shows man sieht es; → time A 1
    2. umg sich zeigen, erscheinen
    3. aussehen ( like wie):
    show to advantage vorteilhaft aussehen
    4. be showing gezeigt werden, laufen (Film)
    * * *
    1. noun
    1) (display) Pracht, die

    a show of flowers/colour — eine Blumen-/Farbenpracht

    show of force/strength — etc. Demonstration der Macht/Stärke usw.

    2) (exhibition) Ausstellung, die; Schau, die

    dog show — Hundeschau, die

    3) (entertainment, performance) Show, die; (Theatre) Vorstellung, die; (Radio, Telev.) [Unterhaltungs]sendung, die; see also steal 1. 1)
    4) (coll.): (effort)

    put up a good/poor show — eine gute/schlechte Figur machen

    good show! — gut [gemacht]!

    5) (coll.): (undertaking, business)

    give the [whole] show away — alles ausquatschen (salopp)

    6) (outward appearance) Anschein, der

    make or put on a [great] show of doing something — sich (Dat.) [angestrengt] den Anschein geben, etwas zu tun

    2. transitive verb,
    p.p. shown or showed
    1) (allow or cause to be seen) zeigen; vorzeigen [Pass, Fahrschein usw.]

    show somebody something, show something to somebody — jemandem etwas zeigen

    have nothing/something to show for it — [dabei] nichts/etwas zum Vorzeigen haben

    this material does not show the dirt — auf diesem Material sieht man den Schmutz nicht; see also colour 1. 5); sign 1. 5)

    2) (manifest, give evidence of) zeigen; beweisen [Mut, Entschlossenheit, Urteilsvermögen usw.]
    3)

    show [somebody] kindness/mercy — freundlich [zu jemandem] sein/Erbarmen [mit jemandem] haben

    show mercy on or to somebody — Erbarmen mit jemandem haben

    4) (indicate) zeigen [Gefühl, Freude usw.]; [Thermometer, Uhr usw.:] anzeigen

    the firm shows a profit/loss — die Firma macht Gewinn/Verlust

    5) (demonstrate, prove) zeigen

    show somebody that... — jemandem beweisen, dass...

    it all/just goes to show that... — das beweist nur, dass...

    it all goes to show, doesn't it? — das beweist es doch, oder?

    I'll show you/him etc.! — ich werd's dir/ihm usw. schon zeigen!

    show somebody who's boss — jemandem zeigen, wer das Sagen hat

    6) (conduct) führen

    show somebody over or round the house/to his place — jemanden durchs Haus/an seinen Platz führen

    3. intransitive verb,
    p.p. shown or showed
    1) (be visible) sichtbar od. zu sehen sein

    he was angry/bored, and it showed — er war wütend/langweilte sich, und man sah es [ihm an]

    2) (be shown) [Film:] laufen; [Künstler:] ausstellen

    "Gandhi" - now showing in the West End — "Gandhi" - Jetzt im West End

    3) (make something known)

    time will show — man wird es [ja] sehen

    Phrasal Verbs:
    * * *
    (cinema) n.
    Vorstellung f. n.
    Ausstellung f.
    Schau -en f. v.
    (§ p.,p.p.: showed)
    or p.p.: shown•) = aufweisen v.
    aufzeigen v.
    ausstellen (auf einer Messe) v.
    vorführen v.
    vorweisen v.
    zeigen v.

    English-german dictionary > show

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